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“I’d have been ashamed not to join the IRA”

Sophie Elmhirst joins Martin McGuinness on the presidential campaign trail in Dublin, and finds an e

A little girl cartwheels nonchalantly through the hallway at the community centre in Ringsend, east Dublin. Not everyone, it seems, is excited at the prospect of Martin McGuinness's imminent arrival. Nearby, a boy holding a football, crimson-faced and out of breath, turns to a member of staff who is trying to corral the scattered children before the political delegation descends, and says: "So, what do we get for doing this?"

Outside, photographers and cameramen have gathered on one side of the street, the children on the other. The two camps shuffle and whisper in anticipation. A boy stands in the middle of the road yelling, "It's him!" every time he spots a car in the distance. Another TV crew arrives. "Will I be on telly?" asks a girl, already waving at the camera. And then they all surge forward, muscling each other out of the way, a photographer removing a spare child by his shoulders so that he can get a clear view of McGuinness, Sinn Fein's candidate for the Irish presidency in the 27 October election, walking down this street by Dublin's old docks.

He smiles as the children amass around his legs. McGuinness's ability to smile for hours on end, beyond the point of face-ache but in a way that always seems sincere, is noteworthy. "What's your name? And what's your name?" he asks the children one by one. They all give him fake names, giggling. One of their super­visors shakes her head and mutters under her breath that they would "buy and sell you in a day if they could".

The media pack soon takes over, pressing towards McGuinness. The questions are all on a single theme: the television debate that took place last night between the seven presidential candidates on RTE, the Irish state broadcaster. In the course of the programme, the presenter, Miriam O'Callaghan, asked McGuinness how his belief in God squared with his former life as a leading member of the IRA. He complained, and newspaper reports described him taking the presenter into a room after the show for a private conversation from which she emerged "shell-shocked" five minutes later. That's the way the Irish newspapers write about McGuinness: laced with a threat of violence and intimidation, a hardman enforcer in disguise.

Today, however, he's back on track, friendly and upbeat. The smile - a sort of wrinkly grin, grandfatherly (he has five of them) and oddly gentle - is fixed. McGuinness is the "People's President", according to his campaign literature. Visiting community centres of this sort is the "best part of the job", he tells the centre manager, as she leads him through a computer room - where people queue to have their photo taken with him - and out to a football pitch and a string of allotments lining the waterfront.

It's a fine afternoon, cool and sunny, and the photographers are relishing the inevitable prospect of McGuinness shedding his jacket, pushing up his sleeves and kicking a ball. The kids are ready, a goal is set up and he tells the photographers to swing their cameras off him and on to the tiny boy wearing over-large gloves who's sinking low to the ground, pre­paring to save the visitor's shot.

He's good at this, McGuinness. Not all politicians are - especially two tired weeks in to a month-long campaign, traversing Ireland from town to town, interview to interview. He has the gift of chatter, but more than that he looks like he enjoys it. At one point, as we pass the allotments, he tells the manager about his herb garden at home, the satisfaction he gets from growing tarragon and rosemary and thyme. She looks enchanted.

Such homely domesticity is not what you might expect from this former leader of the Irish Republican Army, who claims to have left the organisation in 1974 but whom no one believes. It is widely thought that he remained involved at the highest level throughout the 1980s and into the 1990s.

He is associated with years of violence, and has been accused of having a hand in the murders of civilians and soldiers. In 1993, the ITV investigative documentary The Cook Report suggested that McGuinness had encouraged the informer Frank Hegarty to return to Derry from a safe house in London, promising that he wouldn't be hurt. Hegarty came back and was soon murdered. He has also been linked to the 1990 death of Patsy Gillespie, a Catholic cook for the British army who, after his family was taken hostage, was forced to drive a bomb-loaded truck into a Derry army barracks, killing himself and five servicemen. (McGuinness denies any involvement in either case.) A few days before we meet, McGuinness has been confronted by the son of an Irish soldier, Patrick Kelly, killed by the IRA in 1983. These violent deaths are still close, still remembered.

McGuinness has since become a figurehead for peace, as Sinn Fein's lead negotiator in the long process leading to the Good Friday Agreement in April 1998, and then, following the St Andrews Agreement of 2006, as deputy first minister of Northern Ireland, serving first under Ian Paisley and then Peter Robinson. Paisley and McGuinness, once consumed by mutual loathing, became something approaching friends (an Ulster Unionist nicknamed them the Chuckle Brothers).

In his 2008 book Great Hatred, Little Room, Jonathan Powell, Tony Blair's chief of staff, describes the highly charged early meetings they had with Gerry Adams and McGuinness (Powell's brother Charles, a foreign affairs adviser to Margaret Thatcher when she was prime minister, had been on an IRA hit list for seven years): "It was a curiosity to meet people who had been demonised throughout my adult life. Television had not even been able legally to broadcast their voices and so for years the slightly threatening, bearded face of Adams and the clear, chilling eyes of McGuinness had been overlaid by the voices of actors." But there they both were, sitting in front of him, far more flexible, "articulate and interesting" than he had expected.

This is the side of his political life that McGuinness wants the Irish people to remember: the reformed man, the young, hot-headed idealist who learned the error of his ways and forged peace, an achievement that still wins him plaudits from around the world (his campaign website features photographs of him with Barack Obama and Nelson Mandela). To some in Ireland he is a hero - a man who stood up for the oppressed, who fought the British. To others, he was, is and will always be a criminal.

When we talk later on, after a rally in central Dublin, McGuinness concedes that he never thought he would stand for the presidency; that it would be his name printed on the side of a huge campaign bus. Sinn Fein, now the third-largest party in Ireland after the collapse of Fianna Fail in last February's general election, lacked a candidate. Gerry Adams ruled himself out; McGuinness was asked and, after much deliberation, said yes. What convinced him? "The dire state of the economy in the south and the need to stand up against the selfish and the greedy; those people who awarded themselves the big salaries, the big pensions and the big bonuses, effectively plunging the people of this country into misery and despair."

He knew that his opponents would relish dragging up his past. "I was prepared that people who felt that their position was threatened by entry into the race would stoop to any tactic to try to undermine the campaign," he says. "But you know, isn't it amazing that many of us have made peace with each other from the north and are working together to build a better future, yet we've seen a reaction to my involvement in this election from people who have yet to understand the art of peacemaking?"

This is his tactic: after any mention of his violent past, McGuinness reminds you of what came next - his status as a peacemaker. Who else among the candidates (they include the Irish-American singer and Eurovision contest winner Dana Scallon and an Irish Dragons' Den panellist, Seán Gallagher) has secured a peace deal ending years of conflict? McGuinness has unveiled other tricks, too. He has refused, as a symbolic gesture, to take his full salary if elected, proposing to take the average industrial wage instead and use the surplus to rescue six young people from the dole queue, funding their employment.

Such ideas chime well at our next stop on the campaign trail, a drug addiction centre in Irishtown, a poor neighbourhood in east Dublin. He listens to the former addicts who depend on the centre to stay clean and then to a speech from its manager about how funding cuts will threaten the service. He invites them all to the president's house once he's inside. "I'll be the voice of the voiceless," he promises.

There are more photos, more handshakes. With all the hugs and smiles, children thrust into his arms, it's closer to a US campaign than the awkwardly staged encounters of a British election. To these people, McGuinness - despite his suit and tie - is somewhere between a war hero and aged rock star.

After we leave the centre, he slips away with his advisers to rest before the evening event, a rally at the Mansion House in the centre of the city. He has been on the move since morning, travelling, meeting and greeting, and this will be a grand occasion: a roll-call of Irish celebrities, from sportsmen to Hollywood actors, is due to endorse him in front of the audience of 400. Long before he arrives, the media are once again on the pavement outside, waiting. As before, he makes a walking entrance, in classic politician-at-ease style, this time accompanied by his wife, Bernadette, and two sons. They stand in front of the banks of photographers, blinking into the flashes. As I follow him into the main hall, the swelling roar erupts as he enters, the large crowd up on its feet, music soaring over the noise.

The photographers race to snap him embracing Adams, who is sitting on the front row. It feels like a festival - there are whole families here, children on their fathers' shoulders, girls dressed up, old men cheering. On stage, the actor Colm Meaney (Star Trek, The Commitments) presides, introducing folk musicians, a hurler and a footballer, among others, all of whom make speeches of support.

At the climax of the long evening, McGuinness is summoned to the stage. He calms the feverish crowd. His oratorical style is understated; he's no grandstander, no tub-thumper. The speech is delivered quietly, evenly, and the best parts are the most personal - even one of his advisers confides that his attempts at rabble-rousing and policy prescription fall a little flat. The guests are most engaged when his voice drops and he tells the story of his life: born in 1950 on the Bogside in Derry, his father a foundry worker and devout Catholic who took communion every day, his mother a worker in a shirt factory. His parents, he says, supported him even when he joined the IRA as a teenager.

By the age of 21, he was second-in-command of the IRA in Derry and was convicted in 1973 by the Republic of Ireland's Special Criminal Court after being caught with a car full of explosives and ammunition. He was given a six-month sentence. The following year, he married Bernadette after they were introduced by a friend, Colm, who always dressed like a Bay City Roller, and was later shot dead by a British soldier. He sounds choked at the memory. As if in direct response to his hounding in the television debate last night and the accusations in the newspapers over the past month, he squares up to the doubts, describing the years of oppression he and his friends in Derry endured at the hands of the British and the Royal Ulster Constabulary. "I would have been ashamed not to join the IRA," he says. The statement is met with whistles and long, warm applause.

At the end of the speech, the music kicks in, the audience rises and the hurler, the footballer and all the other speakers join him on stage as streamers fall from the ceiling. One of his advisers leads me up to a gallery, away from the fray, and we watch from above as McGuinness says hello to anyone who approaches while a press officer helplessly tries to extract him from the teeming admirers. Eventually he comes up, wearing the glassy-eyed stare of a man who has just emerged from bright lights and a boisterous crowd. I ask him if he feels like a different person from the man he described in his speech, the teenager who joined the IRA.

“When I was 21 years of age I never thought I'd live to 25," he replies. "We lived in a war zone - it was absolutely terrible. There is nothing glorious or great about war." It's a more humble tone from the mock-heroism of earlier. "I'm just glad that I've been part of what is, I suppose, a very small group of people who have effectively brought that to an end."

His task now, he says, is to unify Ireland, for north and south to become one country - a mission that will be thwarted at every turn by the unionists in the north. How can he deliver on such a promise? McGuinness describes it as "a process of evolution". Already, he says, "we have united the people of Ireland behind peace. And we have united the people of Ireland against violence. We're part of the All-Ireland Ministerial Council, the North/South Ministerial Council, where we meet with our counterparts in Dublin." He plans, if elected, to implement a ten-year period of reconciliation, an extension of the community work he has already done in the north with the Presbyterian minister David Latimer and the Catholic priest Michael Canny. Even if true unity is a distant dream, he feels he can get close symbolically.

We don't have long to talk. I ask him if he's still in touch with Blair ("He sent me a Christmas card," he laughs, and then hotly denounces Blair's Iraq misadventure), but his press officer is anxious to take him away. Every minute on the campaign is accounted for, and though it is late and he's tired, McGuinness's engagements are not over yet. We talk about his love of poetry - his heroes are Patrick Kavanagh and Seamus Heaney - and about how he no longer has much time to write his own. Then he is whisked down the stairs and out of the hall.

I watch him go and hang behind until I'm the only one left apart from the technicians dismantling the stage and the caretakers sweeping up the streamers. But when I walk out of the hall, there is the press officer, sitting on the wall with a look of surrender on his face, and behind him is McGuinness, being collared by an elderly supporter to whom he is listening carefully, taking in every word, nodding and agreeing and still, after all this time, somehow smiling.

Sophie Elmhirst is an assistant editor of the New Statesman

Sophie Elmhirst is features editor of the New Statesman

This article first appeared in the 24 October 2011 issue of the New Statesman, The art of lying

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Starting Star Wars: How George Lucas came to create a galaxy

On the 40th anniversary of the release of the original Star Wars, George Lucas biographer James Cooray Smith shares the unlikely story of how the first film got made.

While making THX 1138 in 1970, writer/director George Lucas told composer Lalo Schifrin that he wanted to make a Flash Gordon picture, an updating of the 40s sci-fi serials that he’d enjoyed as a child. It would, however, be those serials not as they were, but how he remembered them as having been. When the rights to these proved unavailable, he began to work on original idea, hoping to create something similar, but which he would own himself.

In January 1973, after completing his 50s nostalgia picture American Graffiti but before its release, Lucas began his outline for this space adventure. The first line of this near-incomprehensible document was The Story of Mace Windu. Mace Windu, a revered Jedi-Bendu of Opuchi who was related to Usby CJ Thape, Padewaan learner to the famed Jedi.’

"Jedi" was a word Lucas had coined to describe a clan of warrior mystics who were essential to his story. A man whose fascination for Japanese cinema had become a general interest in Japanese cultural history, he’d named them after the branch of Japanese drama that drew moral and instructive lessons from stories set in the past – Jidai geki.

This version is set in the thirty-third century and features a teenage Princess, droids, an Evil Empire and a grizzled Jedi warrior, General Skywalker, whose plot role resembles Luke’s from the finished film, although his character is Obi-Wan Kenobi’s. It climaxes with a space dogfight and ends with a medal ceremony. Among the planets named are Alderaan (here the Imperial capital) and Yavin, at this point the Wookiee homeworld. Some characters from this draft (Valorum, Mace Windu) would eventually find a home in The Phantom Menace more than twenty years later.

By May Lucas had a 132 page script, The Adventure of Anikin Starkiller. Skywalker had acquired the forename Luke but was no longer the protagonist. This was Anikin (sic) Starkiller, one of the sons of General Skywalker’s old comrade, the partially mechanical renegade Kane Starkiller. Anikin had to protect a Princess, aided by two robots R2-D2 and C-3PO.

Lucas had worked backwards from Flash Gordon, looking to uncover the source of his appeal, hoping to transfer it to his own story. Once he’d worked his way through the comic strips of Gordon’s creator Alex Raymond, he tackled Edgar Rice Burroughs, Jules Verne and Edwin Arnold’s Gulliver on Mars. Conversations with his New Hollywood peers about the archetypes thrown up by his reading – and which he increasingly saw everywhere – brought him into contact with Joseph Campbell’s then newly published Myths to Live By (1972) an anthology of lectures and essays from a man who devoted his career to identifying the basic archetypal characters and situations which he felt underpinned all human mythologies.

"The book began to focus what I had already been doing intuitively" Lucas later said, an idea which seemed to him to itself reinforce Campbell’s contention that such archetypes and situations dwelled in a collective unconsciousness. Lucas expanded his reading to epics of all kinds, and began planning a visual style that would combine the vistas of Japanese master director Akira Kurosawa with the kind of static-camera realism which he’d used on American Graffiti.

Lucas wanted over-exposed colours and lots of shadows, but shot in a way that made them seem unremarkable. Seeing the Apollo missions return from the moon "littered with weightless candy bar wrappers and old Tang jars, no more exotic than the family station wagon" had illustrated to him the problem with every fantasy movie ever made. Their worlds never looked like people lived in them. His film would depict a "used future". Describing the aesthetic he’d sought to American Cinematographer he explained: "I wanted the seeming contradiction of…fantasy combined with the feel of a documentary."  To Lucas Star Wars wasn’t science fiction, it was "documentary fantasy".

There was only one studio executive Lucas thought had any hope of understanding what he was trying to do, Fox’s Alan Ladd Jr, son of the late actor. Like Lucas and his contemporaries in New Hollywood, Ladd was a man driven by a love of cinema. Lucas could communicate with him through a shared vocabulary, describe a planned scene as being like something from The Searchers (John Ford, 1956) or Fahrenheit 451 (Francois Truffaut, 1966) and be understood. Ten days after his presentation to Ladd, they signed a development deal. Fox agreed to pay Lucas $15,000 to develop a script, plus $50,000 to write the movie and another $100,000 to direct it, should it actually be made. American Graffiti associate producer Gary Kurtz was named as Producer for Star Wars, and received $50,000.

The script development money gave Lucas enough to live on whilst he continued work on the screenplay. As he did so it changed again; a ‘Kiber Crystal’ was written in and then written out. Skywalker became Deak Starkiller’s overweight younger brother before becoming the farm boy familiar from the finished film. Characters swapped names and roles. A new character named Darth Vader – sometimes a rogue Jedi, sometimes a member of the rival ‘Knights of Sith’ – had his role expanded. Some drafts killed him during the explosion of the Death Star, others allowed him to survive; across subsequent drafts his role grew. Some previously major characters disappeared altogether, pushed into a "backstory", Lucas choosing to develop the practically realisable aspects of his story.

This is an important clarification to the idea that Star Wars was "always" a part of a larger saga, one later incarnated in its sequels and prequels. That’s true, but not in an absolutely literal way. Star Wars itself isn’t an excerpted chunk of a vast plotline, the rest of which was then made over the next few decades. It’s a distillation of as much of a vast, abstract, unfinished epic as could be pitched as a fairly cheap film to be shot using the technology of the mid 1970s. And even then much of the equipment used to make the film would be literally invented by Lucas and his crew during production.

In August 1973 Graffiti was released and became a box office sensation, not only did the profits make Lucas rich (he became, at 29, a millionaire literally overnight) its success meant that Lucas was able to renegotiate the terms of his Fox deal. Rather than making demands in the traditional arenas of salary and percentages Lucas wanted control of the music, sequel and merchandising rights to his creations. Fox conceded him 60 per cent of the merchandising, aware of its potential value to them, but eventually agreed that Lucas’s share would rise by 20 per cent a year for two years after the film’s release. Few films made money from spin-off products for a whole 24 months, and Star Wars would surely be no different. Lucas got the sequel rights as well, albeit with the proviso that any sequel had to be in production within two years of the film’s release or all rights would revert to Fox.

Most important amongst Lucas’ demands was that, if it went ahead, he wanted the film to be made by his own company, not by Fox. That way he could control the budget and ensure all charges and costs made to the production were legitimately spent on the film. The experience of watching Mackenna’s Gold being made while a student on placement a decade earlier had taught him just how much money a studio could waste, and on a film like Star Wars – which was both ambitious and would inevitably be under-budgeted – it was crucial that this did not happen. Control of the music rights also had a sound reason behind it. Universal were making a fortune out of an American Graffiti soundtrack that was simply a repackaging of old hits featured in the movie. Of the profits of this Lucas saw nothing despite having selected the tracks featured and fought long and hard for their inclusion in his film.

In March 1975, Ladd took Lucas’ draft to the Fox board. They passed it and budgeted the film at $8.5m. Characters bounced in and out of that script right up to the preparation of the shooting draft, dated 15 January 1976. This was tailored to be as close to the film’s proposed budget as possible, and contain as many of the ideas, characters and situations Lucas had spent the past few years developing as he considered feasible.

This draft is the first version of the script in which Kenobi dies fighting Vader. Previously he had been injured, but escaped with Luke’s party. Alec Guinness, who had already been cast, was initially unhappy with this change, but was persuaded by Lucas that a heroic death followed by appearances as a spectral voice would prove more memorable to audiences than his spending the last third of the film sitting on Yavin whilst the X-Wings went into battle.

Filming began on location in Tozeur, Tunisia on 22 March 1976. Before shooting Lucas sat his crew down and made them watch four films which he felt between them defined what he was after in Star Wars. Stanley Kubrick’s 2001 (1969), Douglas Trumbull’s 1975 Silent Running, Sergio Leone’s Once Upon a Time In the West and Fellini’s Satyricon (Both 1969). The Leone picture was full of the sun-blasted vistas Lucas wanted to evoke for Tatooine, and the Fellini film, with its aspects of travelogue and attempts to portray an entire society in a fly-on-the-wall manner gave an idea of the "documentary fantasy" approach the director was so keen on. All four films shared one vital element: they’re windows onto lived-in worlds remarkable to audiences but regarded as ordinary by the film’s characters.

The first scenes shot for Star Wars were those of Luke buying Artoo and Threepio from the Jawas outside his foster parents’ home. Producer Kurtz had allowed 11 days for the shoot, after that a borrowed army C130 Hercules was scheduled to pick up the cast and crew.

A few days into shooting, creature make-up man Stuart Freeborn was taken ill and had to be flown back to Britain where he was diagnosed with pneumonia. Other crew members contracted dysentery. On 26 March Tunisia experienced its first winter rainstorm for half a century, damaging equipment and exterior sets delaying filming of key scenes.

Lucas wanted the stormtroopers to ride ‘dewbacks’, dinosaur-like domesticated beasts that allowed the troops to move across the desert. One dewback was built, out of foam rubber stretched over a wire frame. It could only be used in the background and no one was ever seen riding one. The other live animal Lucas wanted to portray was a Bantha, a huge horned, shaggy beast reminiscent of a prehistoric mammoth. It was to be the mode of transport for the Tusken Raiders, faintly Bedouin, vaguely mechanically-enhanced humanoids who attacked Luke in the Jundland wastes. In the end, creating the beasts proved impossible, and while they were referred to in dialogue in scenes that were shot (‘bantha tracks…’) none of their sequences were lensed.

As hard as the shoot was on Lucas, he at least had an idea of what he was trying to do and how it would all fit together. The actors, suffering stomach troubles, sunburn and long days, were less clear. Anthony Daniels trapped inside an almost immovable fibreglass body suit suffered the worst. Twenty five years later he would give credit for helping him to get through the Tunisia filming to Alec Guinness. "He was incredibly kind to me…I firmly believe that I wouldn’t have completed that arduous task of shooting without him."

Once the Tunisian shoot was over, the cast moved to EMI Elstree Studios in Borehamwood, outside of London. Star Wars was being made in the UK because it wasn’t possible to shoot the film in Hollywood at that time, not that Lucas – with his lifelong disdain of LA itself – wanted to anyway. Star Wars required nine stages simultaneously, something that no Hollywood studio complex could guarantee at anything like sufficient notice. In March 1975 producer Kurtz had flown to Italy to look at studio space, but found nothing suitable. He then caught a plane to London, where Lucas joined him.

Together they scouted UK film studios. Pinewood was a possibility, but management insisted Lucasfilm hire their technicians, a condition which became a deal-breaker. Neither Shepperton nor Twickenham had enough sound stages (although the giant Stage H at Shepperton  - bigger than any stage at Elstree – would ultimately house one scene of the film) which left only EMI Elstree. Then losing £1 million a year, Elstree was being kept open more or less on the insistence of Harold Wilson’s government, whose allies in the Trades Union movement considered the closing of the facility unconscionable. Elstree had no staff, and anyone who wished to rent it had to supply their own technicians and much of their own equipment. Off-putting to many, it sealed the deal for Lucas and Kurtz, who wanted to move their own people in. They hired the facility for seventeen weeks starting at the beginning of March 1976.

To design and build the sets needed to turn to Elstree into a realisation of Lucas’s screenplay they hired John Barry, a British designer who had worked under Ken Adam on Barry Lyndon (Stanley Kubrick, 1975) a film Lucas admired enough to hire its costumier John Rollo as well.

Elstree’s two largest stages were given over to Mos Eisley Spaceport and the interior of the Death Star. Both the Mos Eisley hangar bay and the one inside the Death Star which replaced it on the same stage were constructed around the full size Millennium Falcon set created by John Barry’s protege Norman Reynolds. Built by Naval engineers at Pembroke Dock, Wales it was 65 feet in diameter, 16 feet high and 80 feet long. It weighed 23 tonnes.

The absence of Stuart Freeborn, still recovering from Tunisia, meant that most of the aliens seen in the Mos Eisley cantina sequence were completed by assistants and lacked any articulation at all. Unhappy with the scenes as shot, Lucas resolved to do to re-shoots back in the USA.

The last scenes to be shot were for the opening battle, as Vader and his stormtroopers boarded the blockade runner. With little time Lucas used six cameras, manning one himself (Kurtz manned another) and shot the sequence in two takes. The six cameras produced so many different perspectives on the action that even the duplicated events that are in the film are unnoticeable. The finished sequence, chaotic though the creation of it was, is amongst the best put together moments in the movie, a superb evocation of Lucas’ documentary fantasy approach, and the cameras dart in and out of the action like reporters shooting newsreel footage. Virtually the first live action seen in the picture, its style later went a long way towards convincing audiences that what they were seeing was somehow real.

Principal photography completed on 16 July 1976, although some re-shoots and pick up shots for the Tatooine sequences were undertaken in Yuma, Arizona in early 1977. Amongst those scenes shot were those featuring the Banthas. Lucas borrowed a trained elephant from Marine World, and had it dressed to resemble a more hirsute, fearsome pachyderm. Mark Hamill was unavailable to participate. He’d crashed his car of the Antelope Freeway in LA shortly before and was undergoing painful facial reconstructive surgery. Although Hamill should have been involved in the re-shoot, in scenes of Luke’s landspeeder moving across the desert, Lucas had no choice but to film them without him; he took a double to the shoot, dressed him in Luke’s costume and put Threepio in the foreground. Also re-shot, over two days in La Brea, California, were portions of the cantina sequence. New cutaways and background shots were filmed to be inserted into the Elstree footage in order to eliminate as of the unsatisfactory masks as possible.

While supervising editing of the film Lucas experienced chest pains, and was rushed to hospital where he was treated for a suspected heart attack. He was later diagnosed with hypertension and exhaustion, both exacerbated by his diabetes.

Fox were by now trying to book Star Wars into cinemas, and had picked a release date in May, long before the 4th July public holiday, long regarded as the opening weekend of summer. Fox wanted $10m in advance bookings for Star Wars, desperate to recoup an investment that internal studio sources had now decided was foolish. They secured less than $2m, and achieved that only by implying to theatres that they wouldn’t be offered Charles Jarrot’s much-anticipated The Other Side of Midnight if they didn’t sign up for Star Wars too. Before its release several exhibitors complained at this "block booking" and filed suits; Fox was later fined $25,000 for the practice, punished for forcing cinemas to agree to show something which was, by the time they paid the fine, the most financially successful movie ever made.

In early 1977 Lucas screened Star Wars for a group of friends, it was nearly finished – although the opening crawl was longer and many of the special effects shots were absent, represented instead by sequences from World War II films and real combat footage shot by the USAF. Among those present were Brian De Palma, Alan Ladd Jnr, Steven Spielberg and Jay Cocks. Martin Scorsese had been invited but troubles editing his own New York, New York meant he didn’t turn up.

De Palma hated Star Wars, and spent the post-screening dinner rubbishing it to anyone who would listen. Others present were unsurprised, De Palma had behaved in the same way during the group screening of Scorsese’s’ Taxi Driver; laughing loudly through Cybill Shepherd’s conversations with Robert de Niro, and at one point shouting "Shit!" halfway through a tense scene. Only Spielberg seemed impressed, and told Lucas that he thought Star Wars would take $100m. Lucas pointed out that nothing took $100m, and countered that Spielberg’s Close Encounters of the Third Kind would do better at the box office. The two directors wrote what they considered realistic estimations of what each other’s film would make in its first six months of release on the inside of matchbooks, which they then traded. By the time Lucas got round to opening Spielberg’s matchbook and saw the figure $33m in his friend’s scrawling hand Star Wars had already made ten times that.

Odd as it seems now, when every blockbuster is prefaced by months of breathless, unrelenting media "enthusiasm", Star Wars wasn’t released on a wave of hype or accompanied by an extensive marketing campaign. It was released (on 25 May 1977) to thirty-two screens, after a barely publicised premiere at Mann’s Chinese Theatre in Hollywood. It made $2.8m in its opening week, but didn’t receive a nationwide release for two months. Despite almost unprecedented success in preview screenings, Fox were still unsure of what to do with Lucas’ bizarre children’s film. Indeed it, only got a Hollywood opening at all because William Friedkin’s Sorcerer – which had been intended for this slot at Mann’s – wasn’t finished.

So negative had advance feeling about Star Wars been that Lucas left the country; he was still in LA on opening day, finishing the sound edit (he was unhappy with the copy playing downtown, and unknowingly embarking on a lifetime of revising his movie) but the next day he and his wife (and Star Wars film editor) Marcia flew to Hawaii, where they were joined by friends, including Spielberg and Amy Irving. It was an attempt to escape what Lucas felt would be the inevitable terrible reviews and wrath of the studio. Even when Ladd called him to share his excitement over the movie’s colossal opening weekend, Lucas was unmoved; all movies labelled science fiction did well in their first few days due to the business attracted by the neglected fanbase for such things. It was only when the film continued to do outstanding business and was expanded to more and more theatres that Lucas considered returning early from his holiday, and began to realise that the film he’d just delivered had changed his life.

As "Star Wars" expanded into more cinemas, and people began to queue round the block to see it, shares in Fox climbed from well under $10.00 to $11.50 each; over the next three months the value rose to $24.62, nearly trebling in price, such was the film’s value to the embattled studio. It was a magnificent vindication for Alan Ladd Jr, who had more than once had to intervene to stop colleagues closing down the film’s production completely. He had never lost faith in Lucas and his bizarre idea, but he was virtually the only person employed by Fox itself who hadn’t.

Just a few weeks before, as the end of the financial year approached, Fox had tried, and failed, to sell its investment in Star Wars to a German merchant bank as an emergency pre-tax write off.

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